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There are a couple of chords which have similar notes. -7b5, -6 for example. But what do I call the chord which is (more or less) equivalent to a C-6, but with Eb as the root note? The key is Bb (I'm pretty sure). Any extra theory with the answer would be appreciated, even if only partially understood 
Finally, I have found a cool signature with sufficiently dry humor.
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It would be a lot easier to answer if we knew the song, or the chord progression.
BIAB 2025 Win Audiophile. Software: Studio One 7 Pro, Swam horns, Acoustica-7, Notion 6, Song Master Pro, Win 11 Home. Hardware: Intel i9, 32 Gb; Roland Integra-7, Presonus 192 & Faderport 8, Royer 121, Adam Sub8 & Neumann 120 monitors.
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SeaMus,
I'm not quite sure what chord you mean. I take it that "-" means minor and thus C-6/Eb is C-Eb-G-A with Eb in the bass. Interpreting the notation as such means that Eb-6(b5) would be Ebm6(b5) which would be Eb-Gb-A-C. The two chords differ by G and Gb. The second chord is actually a diminished 7th chord (Eb or Gb or A or Cdim7 - as they all have the same notes). The first chord is simply Cm6; Eb in the bass would make it first inversion. . As Matt said, some context would be useful. What chord comes before this chord and what one comes after?
Regards,
Noel
MY SONGS...Audiophile BIAB 2025
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I'm trying to get chords to follow Diane Krall's take on The Look of Love.
Second line of the verse looks to me like:
Eb6 / C-6 / Dsus7 / D7 /
"a look your smile can't disguise"
The C-6 is the one I'm having trouble understanding and naming. It sounds like there is some
flirting (does it have a name) between C-7 and C-6. And I know Eb6 and C-7 share much in common.
I'd like to know so if I bring a chart to jam with friends it would make sense...
But knowing the correct theory wouldn't hurt either
Finally, I have found a cool signature with sufficiently dry humor.
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Hi Seamus,
The chord C-6 with Eb as the bass note could be Cm6/Eb - the Eb being an altered bass note
jazzman
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I've had a look at Diana Krall on YouTube singing the Look Of Love and I hear those chords as Eb6 chord to D7sus (at least I think I do!). I think that the notes that are causing you a problem are actually passing notes (non-harmonic tones) in the melody (C, Bb, A, G against the above chords). I'm quite happy to be corrected on this.
Given the context of your above chord progression, I interpret the A natural as #11 of Eb. This means that if she is playing and Eb6 chord, the sound would be more likely to be Eb13#11.
MY SONGS...Audiophile BIAB 2025
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A chord in the first inversion is a chord with the third in the bass. So the Cm6/Eb is a Cm6 in the first inversion; Eb, G, A, C.
I got myself a seniors' GPS. Not only does it tell me how to get to my destination , it tells me why I wanted to go there.
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Quote:
I think that the notes that are causing you a problem are actually passing notes (non-harmonic tones) in the melody (C, Bb, A, G against the above chords).
OK, this is probably the issue for me not just on this tune, but on lots of songs. Long time ago remember a teacher saying something about "passing tones".
I'm a guitarist, but against my own better judgment , on numerous occasions find myself keyboard players seem to get me with this.
It seems like keyboard players will often play the chord with some ascending or descending notes thrown in, a piece of the melody. Sometimes it's obvious when leading to the next chord and I can get myself to ignore it. But many times, for me, the chord seems drastically altered and if I just play the straight chord - say Eb6 or whatever - it just feels wrong. A lot of songs, for me, are defined by little things like these "passing tones".
And the affect is more of an issue with slow songs like this one. At what point do the passing tones create a new chord?
How do musicians deal with 1) remembering these "little lines", 2) communicating with other musicians (in my case, fellow amateurs) when you want it in there. Obviously there is staff notation, which brings some of us to a crawl, and necessitates so much extra paper. OK, tab would be good besides standard notation.
Maybe I should separate my analysis into chord structure, listen just for that. On a second pass, work on the passing tones. Heck, maybe I could pay attention to the notes of the key and how they relate to the current chord, the melody, or the next chord? Maybe on moving forward in my music understanding? ........ Nah. I'll just turn my amp louder.
Finally, I have found a cool signature with sufficiently dry humor.
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Eb6 / C-6 / Dsus7 / D7 /
"a look your smile can't disguise"
without dragging out the CD which is here someplace, the Frank Mantooth Book has the piece in F
so
C/Bb / E+7#9 / A7 sus / A9
"a look your smile can't disguise"
I find she often uses very similar and often the same chord changes as
the original reads Bb Bb6 A7sus A9 as Bacharach wrote it...
John Conley
Musica est vita
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Quote:
OK, this is probably the issue for me not just on this tune, but on lots of songs. Long time ago remember a teacher saying something about "passing tones".
I'm a guitarist, but against my own better judgment , on numerous occasions find myself keyboard players seem to get me with this.
It seems like keyboard players will often play the chord with some ascending or descending notes thrown in, a piece of the melody. Sometimes it's obvious when leading to the next chord and I can get myself to ignore it. But many times, for me, the chord seems drastically altered and if I just play the straight chord - say Eb6 or whatever - it just feels wrong. A lot of songs, for me, are defined by little things like these "passing tones".
And the affect is more of an issue with slow songs like this one. At what point do the passing tones create a new chord?
Jazz guitarists and others who play in Chord Solo style also know these things. Joe Pass is just one outstanding example off the top of my head.
Guitarists who have memorized patterns on the fretboard as chords need only start identifying the actual chord tones as relates to those patterns and shapes to begin. For example, the common open E Major shape Barre chord one note at a time spells, 1,5,1,3,5,1 from lowest note to highest in pitch.
Knowing that, you could begin to alter that chord rather easily. Change that 3 to a flatted 3rd and it becomes the common minor Barre chord pattern. Or, if the chart has a Major 6 chord in it, you could raise the higher pitched 5 two frets to a 6. Raising the highest 1 two steps is an Add9. etc.
It is just a matter of starting to think in the notes and not the shapes or patterns.
--Mac
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Productor Musical
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Quote:
Quote:
Jazz guitarists and others who play in Chord Solo style also know these things. Joe Pass is just one outstanding example off the top of my head.
Guitarists who have memorized patterns on the fretboard as chords need only start identifying the actual chord tones as relates to those patterns and shapes to begin. For example, the common open E Major shape Barre chord one note at a time spells, 1,5,1,3,5,1 from lowest note to highest in pitch.
Knowing that, you could begin to alter that chord rather easily. Change that 3 to a flatted 3rd and it becomes the common minor Barre chord pattern. Or, if the chart has a Major 6 chord in it, you could raise the higher pitched 5 two frets to a 6. Raising the highest 1 two steps is an Add9. etc.
It is just a matter of starting to think in the notes and not the shapes or patterns.
--Mac
That is right to me Mac. Translate ideas to notes get real music instantly to your instrument. Sometimes we become slaves of patterns, shapes, runs, licks and any sorta of tricks bag. I use try fo find a tonal center not only at the entire song but also in the different progressions and micro modulations present in a tune, that way I can deduce if there are passing notes around a altered bass or just a isolate chord in place.
In YouTube I found two basically the same version of Look of Love by Diana Krall in YouTube, both are based in the same arrangement maybe with some minor differences, the first one recorded in studio from Diana Krall Look Of Love CD and the other, my favorite recorded live at the Paris Olympia from Diana Krall - Live At The Paris Oly [DVD] [2001] , this last one have a great piano solo IMO better than studio version.
This is what I reach to hear:
Bbmaj13 / .//. / D9sus4/d7b9/ (I am almost sure, but correct me if wrong)
"a look your smile can't disguise"
As you all can see this is a subtle treatment of original base chords. In Bbmaj13 while the bass player play basic Bb and fith F the guitarist play play D-G-C-F-A, a atmospheric tension chord so used in brazilian jazz influenced music, the music of great Antonio Carlos Jobim have this kind of beatifull layers. The original 7thSUS chord is "enhanced" with a rich D9sus4 and a 7b9 dropping melancholically to D note part of Gm7.
This is a beatifull song...and with the magic of Diana Krall and orchestral is superb!! this morning early I recorded this quick take of the tune (with intro from my own) using Band in a Box and Real Band for layering guitar and a percussion track, the style is Real Tracks Slow Bossa trio plus MIDI E. Piano. Look Of Love , listen with flash media player
BIAB chords
Band in a Box SGU song
Gabriel Arellano,
Nucleox Music
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Diana did study at Berklee, and is from just north of PG music and about 10 miles north of where my sister lives on Vancouver Island. Where Peter and Oliver Gannon are from. I suggest you take the ferry from the mainland. One of the best trips you can imagine. She's now married to Elvis Costello, and Elvis and Elton John have produced a music series here in Canada that is awesome. She appears, sometimes Elton plays piano with Elvis, quite the show.
You'd think from what you see she's 'tall' but I saw her at the train station concert in Toronto and she's really small...
And a great talent....for a Canuck.
John Conley
Musica est vita
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Carlos, I've just spent a few beautiful minutes listening! Superb atmospheric & inventive playing  ......and, as usual, the wonderful technique we have come to expect. Mac as always, has great advice to offer to any musician......guitarist or otherwise. Thanks, Joe G.
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Productor Musical
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Quote:
Diana did study at Berklee, and is from just north of PG music and about 10 miles north of where my sister lives on Vancouver Island. Where Peter and Oliver Gannon are from. I suggest you take the ferry from the mainland. One of the best trips you can imagine. She's now married to Elvis Costello, and Elvis and Elton John have produced a music series here in Canada that is awesome. She appears, sometimes Elton plays piano with Elvis, quite the show.
You'd think from what you see she's 'tall' but I saw her at the train station concert in Toronto and she's really small...
And a great talent....for a Canuck.
Thanks for quite nice info about Diana. John, just curiosity, you said she´s really small. I read in a Diana bio she is 5'8'' that is 1.74 mts, although not so much that is a good tall here in my country. What is the average tall for your land? I suspect I could seem midget if you see me  ...I am 5.48''
cheers
Gabriel Arellano,
Nucleox Music
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Productor Musical
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Thanks Joe, I appreciate it and you did take time for listen my take.
Gabriel Arellano,
Nucleox Music
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